ALEXA Dailies using Resolve 9
|
|
- Randell Phelps
- 6 years ago
- Views:
Transcription
1 ALEXA Dailies using Resolve 9 WORKFLOW GUIDELINE Digital Workflow Solutions, 19 October 2012
2 Version History Version Author Change Note Martin First document 2012_03_03 Martin Update for Resolve 8.2 and ALEXA SUP 6.0/DNxHD 2012_09_28 Martin Updated for Resolve 9 Table of Contents Version History... 2 Table of Contents... 2 Introduction... 2 Workflow Overview... 3 Graph... 3 The ALEXA Reel-Name... 4 Naming convention... 4 Reel-Name... 4 Applying 3D-LUTs to your timeline... 5 Rendering your footage for editing... 7 Resizing 2k ProRes files for a DCP finish... 8 Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped)... 8 Re-format 2K 16:9 (flat) to 2.39 Widescreen... 8 Re-format 2K 4:3 anamorphic to 2.39 Widescreen... 8 Creating EDLs to conform original footage... 9 AVID Media Composer Final Cut Pro Contact Introduction Shooting QuickTime/ProRes or MXF/DNxHD Log C files with the ARRI ALEXA camera usually requires dailies processed in Rec 709 video color space. Blackmagic s Resolve for Mac can be an easy and fast solution to create color corrected or just delogged dailies. The available workflows include the possibility to use 3D-LUTs on all shots or different LUTs on single shots, primary grading with the possibility to export a CDL plus a full DI secondary grading environment. MXF/DNxHD files generated by the ALEXA are supported within Resolve from Version A basic knowledge and understanding of the software DaVinci Resolve is a must for the described workflow below. If you have never used Resolve before, please refer to the Getting Started section of the DaVinci Resolve Manual. ALEXA Dailies using Resolve 9 Workflow Guideline Page 2 of 10
3 Workflow Overview Graph SXS PRO Card ProRes Media Copy / Archive Software LTO Archive Tape Video Rec 709 LogC SxS Recording Formats ProRes / DNxHD AVID AMA import Media Composer Transcode to DNxHD proxy Files ProRes only LogC to Video REC 709 DaVinci Resolve conversion from Log C to Video export MXF DNxHD proxy Files LogC to Video REC 709 DaVinci Resolve conversion from Log C to Video export QT ProRes proxy Files ALEXA Dailies Video Rec 709 Editing Dailies Video Rec 709 Dailies Video Rec 709 Avid MC 5 & 6 / FCP / DaVinci Resolve offline- online Workflow with Rec 709 / LogC Editing TITLE: EDIT 01 FCM: NON-DROP FRAME 001 BL V C 00:00:00:00 00:00:00:00 01:00:00:00 01:00:00: A010L1JY V D :00:07:05 01:00:12:23 01:00:00:00 01:00:05:18 * TO CLIP NAME: SCENE 01/ A010L1JY V C 01:00:12:23 01:00:12:23 01:00:05:18 01:00:05: A010L1JY V D :00:18:03 01:00:24:14 01:00:05:18 01:00:12:05 * FROM CLIP NAME: SCENE 01/ 02 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:24:14 01:00:24:14 01:00:12:05 01:00:12: A010L1JY V D :00:33:12 01:00:38:15 01:00:12:05 01:00:17:08 * FROM CLIP NAME: SCENE 02/ 01 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:38:18 01:00:40:05 01:00:17:08 01:00:18:19 * FROM CLIP NAME: SCENE 03/ 01 TTE 005 A010L1JY V C 01:00:49:23 01:00:54:21 01:00:18:19 01:00:23:17 * FROM CLIP NAME: SCENE 05/ 01 SEITENSCHNEIDER Finishing Conform; Colorgrade; Export Media Composer CMX EDL DaVinci Resolve File Export Original Media reconnect TITLE: EDIT 01 FCM: NON-DROP FRAME 001 BL V C 00:00:00:00 00:00:00:00 01:00:00:00 01:00:00: A010L1JY V D :00:07:05 01:00:12:23 01:00:00:00 01:00:05:18 * TO CLIP NAME: SCENE 01/ A010L1JY V C 01:00:12:23 01:00:12:23 01:00:05:18 01:00:05: A010L1JY V D :00:18:03 01:00:24:14 01:00:05:18 01:00:12:05 * FROM CLIP NAME: SCENE 01/ 02 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:24:14 01:00:24:14 01:00:12:05 01:00:12: A010L1JY V D :00:33:12 01:00:38:15 01:00:12:05 01:00:17:08 * FROM CLIP NAME: SCENE 02/ 01 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:38:18 01:00:40:05 01:00:17:08 01:00:18:19 * FROM CLIP NAME: SCENE 03/ 01 TTE 005 A010L1JY V C 01:00:49:23 01:00:54:21 01:00:18:19 01:00:23:17 * FROM CLIP NAME: SCENE 05/ 01 SEITENSCHNEIDER HD SDI Final Cut Pro CMX EDL Editing TITLE: EDIT 01 FCM: NON-DROP FRAME 001 BL V C 00:00:00:00 00:00:00:00 01:00:00:00 01:00:00: A010L1JY V D :00:07:05 01:00:12:23 01:00:00:00 01:00:05:18 * TO CLIP NAME: SCENE 01/ A010L1JY V C 01:00:12:23 01:00:12:23 01:00:05:18 01:00:05: A010L1JY V D :00:18:03 01:00:24:14 01:00:05:18 01:00:12:05 * FROM CLIP NAME: SCENE 01/ 02 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:24:14 01:00:24:14 01:00:12:05 01:00:12: A010L1JY V D :00:33:12 01:00:38:15 01:00:12:05 01:00:17:08 * FROM CLIP NAME: SCENE 02/ 01 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:38:18 01:00:40:05 01:00:17:08 01:00:18:19 * FROM CLIP NAME: SCENE 03/ 01 TTE 005 A010L1JY V C 01:00:49:23 01:00:54:21 01:00:18:19 01:00:23:17 * FROM CLIP NAME: SCENE 05/ 01 SEITENSCHNEIDER Finishing Conform; Colorgrade; Export File Export Media Composer AAF Original Media reconnect File Export Editing DaVinci Resolve TITLE: EDIT 01 FCM: NON-DROP FRAME 001 BL V C 00:00:00:00 00:00:00:00 01:00:00:00 01:00:00: A010L1JY V D :00:07:05 01:00:12:23 01:00:00:00 01:00:05:18 * TO CLIP NAME: SCENE 01/ A010L1JY V C 01:00:12:23 01:00:12:23 01:00:05:18 01:00:05: A010L1JY V D :00:18:03 01:00:24:14 01:00:05:18 01:00:12:05 * FROM CLIP NAME: SCENE 01/ 02 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:24:14 01:00:24:14 01:00:12:05 01:00:12: A010L1JY V D :00:33:12 01:00:38:15 01:00:12:05 01:00:17:08 * FROM CLIP NAME: SCENE 02/ 01 * TO CLIP NAME: SCENE 02/ A010L1JY V C 01:00:38:18 01:00:40:05 01:00:17:08 01:00:18:19 * FROM CLIP NAME: SCENE 03/ 01 TTE 005 A010L1JY V C 01:00:49:23 01:00:54:21 01:00:18:19 01:00:23:17 * FROM CLIP NAME: SCENE 05/ 01 SEITENSCHNEIDER HD SDI Final Cut Pro CMX EDL Video Rec / 422 HD rec709 Mastertape LogC DPX 10Bit File Video Rec /422 HD rec709 Mastertape ALEXA Dailies using Resolve 9 Workflow Guideline Page 3 of 10
4 The ALEXA Reel-Name Naming convention The ALEXA camera records both ProRes and DNxHD files in the following naming-convention: filename - camera index/unit - reel counter - clip index - clip counter - shooting date yyyymmdd - unique camera ID Reel-Name The file header holds the Reel-Name of each shot. For our example file mentioned above this would be: A001R1K4 Reel-Name The Reel-Name is generated from the camera index, reel counter and camera ID. To keep the Reel- Name in any render generated from Resolve we need to tell Resolve where to find the Reel-Name. Go to the Master Project Settings page and scroll to the bottom. Please activate the following option in the Conform Options : Assist using reel numbers from the: and choose the sub-option Embedding in source clip file. After this option has been selected all ALEXA ProRes and DNxHD files will import with the correct Reel-Name as seen in the screen grab on the next page. ALEXA Dailies using Resolve 9 Workflow Guideline Page 4 of 10
5 Applying 3D-LUTs to your timeline To convert all your shots from Log C to Video color space you need to apply a 3D-LUT. DaVinci Resolve 9 already ships with the standard ALEXA Rec709 LUT named Arri Alexa LogC to Rec709. For all other LUTs regarding the ALEXA camera, please go to our online LUT Generator using the following link: Please download 3D-LUTs in the DaVinci Resolve format. While ProRes and DNxHD is legal range encoded, the LUTs are applied to RGB images in the software and these are full range. So please download LUTs as following for Log C to Rec709 conversion: Source: Log C - Full Range Destination: Video - Full Range ColorSpace Rec 709 Scaling Photometric Video This will result in a 3D-LUT named: ALEXA_K1S1_LogC2Video_Rec709_EE_davinci3d.cube ALEXA Dailies using Resolve 9 Workflow Guideline Page 5 of 10
6 Place the LUT in Resolves LUT folder: /Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT/Arri To activate newly importet LUTs go to the Look Up Tables page in your Project Settings and press the Update Lists button. If you want to grade your dailies in LogC color space you should load the LUT in the 3D Output Lookup Table section. This will first apply your grading to the image and second the 3D-LUT. If you prefer to grade in video color space use the LUT in 3D Input Lookup Table. This will first apply the 3D-LUT to your image and second your grading. ALEXA Dailies using Resolve 9 Workflow Guideline Page 6 of 10
7 Rendering your footage for editing Open the DELIVER page and activate the following options: First please choose your rendering format. A good balance between file size and image quality for editing is ProRes Proxy for Final Cut Pro or DNxHD 36 for AVID Media Composer, which gives you very small files in full HD resolution. Later in the project you can relink or conform to the original camera files and get the best possible image quality for grading. Next activate the following settings: Render timeline as: Individual source clips Use source filename Use Commercial Workflow: Place reels in separate folders This will keep the naming of your render files consistent to the original files and will render each Reel into a separate directory. ALEXA Dailies using Resolve 9 Workflow Guideline Page 7 of 10
8 Resizing 2k ProRes files for a DCP finish Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) Create a new timeline with a frame size of 1998 x 1080 pixels. In the project settings, make sure that the Input Scaling Preset is set to Center crop with no resizing. All clips added to the sequence will automatically be center-cropped to the 1.85:1 aspect ratio with the correct field of view. The individual clips can be reframed by moving them within the sequence frame. Re-format 2K 16:9 (flat) to 2.39 Widescreen Create a new timeline with a frame size of 2048 x 858 pixels. In the project settings, make sure that the Input Scaling Preset is set to Center crop with no resizing. All clips added to the sequence will automatically be center-cropped to the 2.39:1 aspect ratio with the correct field of view. The individual clips can be reframed by moving them within the sequence frame. Re-format 2K 4:3 anamorphic to 2.39 Widescreen Create a new timeline with a frame size of 2048 x 858 pixels. In the project settings, make sure that the Input Scaling Preset is set to Center crop with no resizing. All clips added to the sequence will be center-cropped to the 2.39:1 aspect ratio, but without being desqueezed. Create an Input Sizing Format Preset and scale the image to times width and times height. Select the clips in the timeline and apply the preset to show them in the correct aspect ratio and filed of view. The individual clips can be re-framed by moving them within the sequence frame. ALEXA Dailies using Resolve 9 Workflow Guideline Page 8 of 10
9 Creating EDLs to conform original footage With Resolve you can conform Final Cut Pro XML or AVID AAF files. Most often EDLs are still used in an offline/online workflow. Therefore we provide all necessary information regarding ALEXA files in this section. For conforming Final Cut Pro XML and AVID AAF please refer to the Resolve User Guide. AVID Media Composer 5.0 Editing ProRes/DNxHD files in Avid Media Composer differs from editing in Final Cut Pro in terms of Quicktime Header metadata. The Reel-Name is not imported from the ProRes/DNxHD files using AMA, but can be easily added into any EDL using the method below: Open your sequences in the AVID EDL Manager (version and higher) and use following configuration in the options menu. EDL Type: CMX 3600 In Master List menu > Reel ID Type: Tape or File Name In Options menu >Tape name truncation: Remove Middle In Comment menu > choose: Source File (original file name) Example: 001 A001R1K4 V C 01:00:18:00 01:00:18:05 01:00:00:00 01:00:00:05 * FROM CLIP NAME: SHOT_003 * SOURCE FILE: The EDL example includes all necessary metadata of the original ProRes/DNxHD file to conform by: Tape Name Source Time Code Original File Name ALEXA Dailies using Resolve 9 Workflow Guideline Page 9 of 10
10 Final Cut Pro To export an EDL from your sequence in Final Cut Pro, please choose the Menu Item File -> Export -> EDL. In the dialog choose the following options: Example: TITLE: CUT01 FCM: NON-DROP FRAME 001 A001R1K4 V C 01:00:18:00 01:00:18:05 01:00:00:00 01:00:00:05 * FROM CLIP NAME: The EDL example includes all necessary metadata of the original ProRes/DNxHD file to conform by: Tape Name Source Time Code Original File Name Contact In case you have questions or recommendations, please contact the Digital Workflow Solutions group within ARRI via digitalworkflow@arri.de. ALEXA Dailies using Resolve 9 Workflow Guideline Page 10 of 10
ALEXA & AMIRA Dailies using Resolve 15.2
ALEXA & AMIRA Dailies using Resolve 15.2 WORKFLOW GUIDELINE Date: 16 November 2018 Version History Version Author Change Note 2010-12-15 Martin First document 2012_03_03 Martin Update for Resolve 8.2 and
More informationALEXA Dailies using Resolve
Introduction ALEXA Dailies using Resolve ALEXA Workflow Guidelines 001 Shooting ProRes logc files with the Alexa camera usually requires dailies processed in Rec 709 video color space. Blackmagic s Resolve
More informationMXF/DNxHD with ALEXA SUP 6.0
MXF/DNxHD with ALEXA SUP 6.0 WHITE PAPER Digital Workflow Solutions, 5 April 2012 Version History Version Author Change Note 2011-12-20 Grafwallner First document draft 2012-02-15 Temmler AMA Volume Plugin
More informationALEXA. MXF/DNxHD with SUP 9.0 WHITE PAPER. Date: 4 December 2013
ALEXA MXF/DNxHD with SUP 9.0 WHITE PAPER Date: 4 December 2013 1. Version History/Last Changes Version Author Change Note 2012-03-06 Temmler Changes to Consolidate step 4, added Chapter 5 Avid DS. 2012-04-05
More informationDaVinci Resolve to AVID - How to make AVID Project and.mxf MediaFiles
DaVinci Resolve to AVID - How to make AVID Project and.mxf MediaFiles Use this workflow to transcode or convert Blackmagic Cinema DMG, XAVC, XAVC s, and XAVC HD footage shot with the Alexa MINI, Sony A7s,
More informationCinemaDNG RAW Workflow for Blackmagic Cameras
CinemaDNG RAW Workflow for Blackmagic Cameras Blackmagic Cameras are capable of shooting to two types of Dynamic Range : Video and Film. Each option can be recorded in Apple ProRes 422 or CinemaDNG RAW
More informationSPE Dailies Solutions. SPE Tech / PMC / Colorworks / 24P Dailies 6/07/11
SPE Dailies Solutions SPE Tech / PMC / Colorworks / 24P Dailies 6/07/11 1 Summary of topics covered SPE Dailies Solution Objectives Vendor Selection Criteria Evaluation process List of all Dailies solutions
More informationALEXA SXT, MINI & AMIRA ARRI Look File 2 in Editorial
ARRI Look File 2 in Editorial WORKFLOW GUIDELINE Date: 12 July 2016 Version History Version Author Change Note 2016-06-15 Duschl First document 2016-06-16 Heugel Revision and added BMD Resolve chapter
More informationNetflix Originals: Production and Post-Production Requirements v2.1
Netflix Originals: Production and Post-Production Requirements v2.1 Scope Provide a set of technical requirements for production and post-production workflows to ensure that a high level of quality is
More informationINTRODUCTION... 3 OVERVIEW... 4 DAILIES CREATION STEPS... 5 ADDITIONAL METADATA USING ALE ONE STEPALE RE-LINK ADDITIONAL RESOURCES...
TABLE OF CONTENTS INTRODUCTION... 3 OVERVIEW... 4 DAILIES CREATION STEPS... 5 ADDITIONAL METADATA USING ALE... 13 ONE STEPALE RE-LINK... 15 ADDITIONAL RESOURCES... 16 APPENDIX... 17 INTRODUCTION This guide
More informationAvid Digital Camera Workflows for Media Composer v6.5
Avid Digital Camera Workflows for Media Composer v6.5 June 30, 2013 Table of Contents OVERVIEW...3 AUDIO...4 24/25 CONSIDERATIONS...6 AMA VERSUS DAILIES TRANSCODE...7 AMT + DNXHD...7 HD FINISH OF R3D FILES
More informationP fn. Pomfort Metadata Workflow for Avid Media Composer. Overview. Table of Contents. White Paper May 2011
P fn Pomfort Metadata Workflow for Avid Media Composer White Paper May 2011 Overview Metadata support for Avid Media Composer was released May 2011 as part of the on-set media management solution Silverstack
More informationAvid Digital Cinema Camera Workflows
Avid Digital Cinema Camera Workflows www.avid.com Table of Contents TABLE OF CONTENTS 2 OVERVIEW 3 AUDIO 4 24/25 CONSIDERATIONS 7 AMA VS. DAILIES TRANSCODE 7 AMT + DNXHD 8 RED DIGITAL CINEMA CAMERAS 9
More informationALEXA XR Module Workflows
ALEXA XR Module Workflows WHITE PAPER 6 March 2013 Introduction In 2013, ARRI introduced the ALEXA XR Module which, for the first time, allows uncompressed in-camera ARRIRAW recording. This not only makes
More informationIf you haven't already - Create Account in DaVinci Resolve (User Name & Password)
COLOR CORRECTION GUIDE DAVINCI RESOLVE & ADOBE PREMIERE (v2) If you haven't already - Create Account in DaVinci Resolve (User Name & Password) In Locked Project, duplicate your Premiere Sequence. Rename
More informationAvid integration in Nucoda
Avid integration in Nucoda 2017.1 Avid integration with Nucoda has been tested with Media Composer 8.0 and higher General notes on using Avid sequences in Nucoda: There are three main workflows when using
More informationDCIMastering FOCUS SHEET. Marquise Technologies 2012 Page 1
DCIMastering FOCUS SHEET Marquise Technologies 2012 Page 1 M I S T DCI MASTERING M I S T DCI mastering features are the only efficient alternative for creating an accurate and compliant DCP. The DCP packaging
More informationWhat will be the ideal workflow for Blackmagic+Lightworks+DaVinci Resolve?
Blackmagic Cinema Camera with Lightworks Posted by stajan - 04 Jun 2012 06:20 I am planning to shoot an Indian language Movie with Blackmagic cinema camera & Lightworks for Editing.I read an article that
More informationALEXA XR Module Workflows
ALEXA XR Module Workflows WHITE PAPER 27 March 2013 Introduction Most of the big Hollywood features that were shot in ARRIRAW were recorded on Codex recorders. The technology used by Codex, its reliability,
More informationDejaEdit. User manual. DejaEdit version 1.2 CAN Film 1
DejaEdit User manual DejaEdit version 1.2 CAN Film 1 Table of Contents About DejaEdit... 3 Installation... 4 The DejaEdit menu... 4 The eye-icon... 4 Sync... 5 Information... 5 Force MediaSync... 5 Force
More informationOdyssey7Q Odyssey7Q+ ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60. Updated February 23, 2015 Firmware Release v
ARRIRAW SETUP GUIDE Odyssey7Q Odyssey7Q+ ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60 Updated February 23, 2015 Firmware Release v5.10.100 ProRes 422 (HQ) ProRes 422 ProRes 422 (LT) ODYSSEY + ALEXA
More informationPRODUCTION BACKBONE DAM TV PRODUCTION INGEST/DELIVERY PROCESS. Post files to PBB Storage Drop ALE into Hot Folder CONCEPTUAL ALE.
PRODUCTION BACKBONE TV PRODUCTION INGEST/DELIVERY INGEST / DELIVERY Post files to Drop into Files Files AV Proxy VFR Assets and Media Backbone Local PIX Workflow Initiated Parse File Request to Push files
More informationMigrating from Final Cut Pro to Media Composer What you should know to make your transition successful
Migrating from Final Cut Pro to Media Composer www.avid.com The editorial community has undergone a profound transition with the recent introduction of Apple Final Cut Pro X, causing many to re-evaluate
More informationilovehue.net FROM FCP TO RESOLVE Mathieu Marano
FROM FCP TO RESOLVE Mathieu Marano mat@ilovehue.net www.ilovehue.net Table of Contents Purpose Prepare your FCP Project Compatible media Good practice Cleaning the timeline Media Manager Receiving a graded
More informationWhat's New in Flame 2015 Extension 1
What's New in Flame 2015 Extension 1 1 Welcome to Autodesk Flame 2015 Extension 1. See the following sections for new feature information in this release: What's New in Display Options Dual Monitor Support
More informationAdvanced Color Grading in DaVinci Resolve 15
Advanced Color Grading in DaVinci Resolve 15 1. Introduction Color Page Overview 2. Opening a Resolve Archive Opening an Archive Grading Workflow Steps Balancing Shots Shot Matching Secondary Grading Creating
More informationALEAX LF / ALEXA SXT / ALEXA 65 / AMIRA / ALEXA Mini ARRI META Extract (CMD)
ALEAX LF / ALEXA SXT / ALEXA 65 / AMIRA / ALEXA Mini ARRI META Extract 3.5.3 (CMD) USER MANUAL Date: 30 January 2018 Table of Contents 1. Introduction... 3 2. Supported Input Formats... 3 3. Supported
More informationRAW WORKFLOWS: CINEFORM TOOLSET. Copyright 2008, Jason Rodriguez, Silicon Imaging, Inc.
RAW WORKFLOWS: CINEFORM TOOLSET Copyright 2008, Jason Rodriguez, Silicon Imaging, Inc. CineForm Product Family At the root of every CineForm product is the CineForm codec High bit-depth (10+ bits) 32-bit
More informationUsing Canon C300 MXF footage in Media Composer v6 and v7
Using Canon C300 MXF footage in Media Composer v6 and v7 If you are using your own system at home, make sure the C300 AMA files have been installed. http://avid.force.com/pkb/articles/en_us/download/en394971
More informationQuantel Rio Rio Assist. V3.0 rev 1 New Feature List
Quantel Rio Rio Assist V3.0 rev 1 New Feature List Note: This is a major release and requires a database schema change. After installation the first run up will migrate the base, desk and dict folders
More informationFind out what you re missing in Media Composer
Find out what you re missing in Media Composer Still working with an older version of Media Composer? You don t know what you re missing! Revolutionize your workflow with powerful new capabilities and
More informationSPE Dailies Project. SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11
SPE Dailies Project SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11 Summary of topics covered SPE Dailies Solution Objectives Vendor Selection Criteria Evaluation process List of all Dailies solutions
More informationALEXA. ProRes 3.2K WHITE PAPER. Date: 10 February 2015
ALEXA ProRes 3.2K WHITE PAPER Date: 10 February 2015 Version History Version Author Change Note 2015-02-04 Christian Grafwallner Create new document Table of Contents Version History... 2 Table of Contents...
More informationAVC-Intra QT v1.0 Manual
AVC-Intra QT v1.0 Manual 20th of January 2010 table of contents AVC-Intra QT 1.0 3 Installation and Activation... 3 Using AVC-Intra QT in QuickTime Player...17 Using AVC-Intra QT in Final Cut Pro...21
More informationARRIRAW SETUP GUIDE. ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60. Updated November 17, 2014 Firmware Release v
ARRIRAW SETUP GUIDE ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60 Updated November 17, 2014 Firmware Release v3.10.100 ODYSSEY7Q + ALEXA AT A GLANCE HD 10-Bit Format Frame Rate Data Bit Single or Frame
More informationUploaders Guide Table of Contents
Uploaders Guide Table of Contents Preparing & Uploading Files, Dailies, & Cuts... 3 File Preparation & Encoding Specifications... 3 Dailies and Avid Log Exchange (ALE) Requirements... 3 Base ALE Components...
More informationThe folder Icon allows you to create a folder for placing export settings for file management and organization.
EXPORT When the EXPORT tab is selected, on the right side is the Batch Monitor and on the left is the Export Settings. We will describe the Export Settings first, then the Batch Monitor. The number of
More informationBORIS FX. Boris AAF Transfer Last updated February 18, Release Notes. System Requirements
BORIS FX Boris AAF Transfer 2.0.4 Last updated February 18, 2011 Release Notes System Requirements Supported Operating Systems: Apple Macintosh OS 10.5 or greater Supported hosts: Apple Final Cut Pro 6
More informationFirmware Version Record RAW in CinemaDNG from the Panasonic Varicam LT
Firmware Version 2017.07.1713 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60 720p 50, 59.94, 60 Record RAW in CinemaDNG from the Panasonic Varicam LT Single Channel Recording to Avid DNxHD 4:2:2 at 220
More informationCinemaDNG Workflow. Using the CinemaDNG File Format in Cinema Workflows. Goals and Benefits TECHNICAL PAPER
a TECHNICAL PAPER Using the CinemaDNG File Format in Cinema Workflows TABLE OF CONTENTS 1 Goals and Benefits 3 Workflow Schematic 4 Workflow Steps 8 Using Metadata with CinemaDNG 9 Reference Documentation
More informationThis means that Avid users now have the same simple workflow available to them as users of Apple Final Cut Pro:
Using AJA with Avid NLEs Opening up the Avid workflow to read native ProRes QuickTime files directly through the Ki Pro gives our customers access to new ways of working that increase productivity and
More information3D-LUTs file for J-Log1 of GY-LS300CH Reference Manual. Version 1.0
3D-LUTs file for J-Log1 of GY-LS300CH Reference Manual Version 1.0 November 13, 2015 1 I n d e x 1. J-Log1 and 3D-LUT Files...3 2. 3D-LUTs for GY-LS300 ( )...4 2 1. J-Log1 and 3D-LUT files Firm up Ver.2.0
More informationTechnical Focus. DIGITAL PRODUCTION CHALLENGE 2011 Thursday 24 to Saturday 26 November 2011, Oslo
DIGITAL PRODUCTION CHALLENGE 2011 Thursday 24 to Saturday 26 November 2011, Oslo Technical Focus By Philippe Ros Director of photography, AFC Digital Imaging Supervisor www.philipperos.com Technical Focus
More informationMIST CONTENT MASTERING FOR DIGITAL CINEMA, BROADCAST & OTT
BEYOND MASTERING MIST CONTENT MASTERING FOR DIGITAL CINEMA, BROADCAST & OTT In one solution MIST provides all the necessary tools to produce the deliverables of today and tomorrow: from RAW data to DCP
More informationBlack Magic Cinema Camera 2.5k - Guide
Black Magic Cinema Camera 2.5k - Guide The Black Magic Cinema Camera (BMCC) offers filmmakers the possibility of shooting highresolution images, with a wide dynamic range in an uncompressed RAW image.
More informationCompare the features of DaVinci Resolve 8!
1 di 14 13/09/2011 09:42 Compare the features of DaVinci Resolve 8! DaVinci Resolve is the world's most advanced color correction solution. You get natural 32 bit float YRGB processing, power windows,
More informationCanon C500 RAW SETUP GUIDE. 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX Apple ProRes 422 (HQ) 4K RAW QHD RAW 2K 12-BIT DPX HD 12-BIT DPX
Canon C500 RAW SETUP GUIDE 4K RAW QHD RAW 2K 12-BIT DPX HD 12-BIT DPX 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX Apple ProRes 422 (HQ) Updated October 29, 2014 Firmware Release v3.10.100 FS RAW RECORDING CAPABILITIES
More informationGlue Tools LLC! ARRIRAW Toolkit for Final Cut Studio v1.5. ARRIRAW Toolkit for Final Cut Studio
ARRIRAW Toolkit for Final Cut Studio 1 ARRIRAW, Alexa, ARRIFLEX D-21, D-21, are trademarks of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG QuickTime, Final Cut Pro, Final Cut Studio, ProRes are
More informationPreparing Video Files for the Aja Ki Pro
Preparing Video Files for the Aja Ki Pro rev. 04/12/16 The Gene Siskel Film Center has the ability to play Apple Pro Res files from an Aja Ki Pro hard drive player/recorder. r CC 2015. Aja Ki Pro. The
More informationRED, Raw and Beyond HD
RED, Raw and Beyond HD Digital Cinema and the Digital Negative Resolution Colour Space Bit Depth RAW format Exposure Histograms Workflow options Mike Jones Head of Technological Arts International Film
More informationFS-P250 Quick Start Guide
FS-P250 Quick Start Guide This document is a quick look into using the Vitec FS-P250 with Panasonic AG-HPX250/255. The following will be covered in this document: Getting Started and Recording Proxy Footage
More informationAvid Xpress Pro for the Independent Filmmaker. Avid Post Production
Avid Xpress Pro for the Independent Filmmaker Avid Post Production Table of Contents Introduction.................................................................................1 Production...................................................................................1
More informationSPE Dailies Project. SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11
SPE Dailies Project SPE Tech / PMC / Colorworks / 24P Dailies 3/27/11 1 Summary of topics covered SPE Dailies Solution Objectives Vendor Selection Criteria Evaluation process List of all Dailies solutions
More informationSONY FS RAW SETUP GUIDE
SONY FS RAW SETUP GUIDE 4K RAW up to 60p 4K RAW burst up to 120p 4K RAW to 4K Apple ProRes 422 (HQ) 2K RAW up to 240p 4K RAW to HD Apple ProRes 422(HQ) up to 60p 1080p video to Apple ProRes 422(HQ) up
More informationSONY FS700 SETUP GUIDE
SONY FS700 SETUP GUIDE 4K RAW up to 60p 4K RAW burst up to 120p 4K RAW to 4K Apple ProRes up to 30p 4K RAW to UHD Apple ProRes up to 30p 2K RAW up to 240p 4K RAW to 2K Apple ProRes up to 60p 4K RAW to
More informationProduct Documentation and Release Notes Aug 4, 2011 Contents
Boris Transfer FCP Product Documentation and Release Notes Aug 4, 2011 Contents Product Description What's New with this Version System / Host Requirements Installation Procedure Registration, Evaluation
More information'Broadcast Quality' Workflow with Timecode for 'Prosumer' Camcorders and DSLRS - (LW Pro) Posted by ozsteam - 13 Sep :56
'Broadcast Quality' Workflow with Timecode for 'Prosumer' Camcorders and DSLRS - (LW Pro) Posted by ozsteam - 13 Sep 2012 07:56 Here is one successful transcode workflow option using the recently released
More informationUpgrading to. Media Composer 7 and. NewsCutter 11. Paul Sampson.
Upgrading to Media Composer 7 and NewsCutter 11 Paul Sampson paul@paul-sampson.ca Table of Contents INTRODUCTION...4 WORKING WITH HIGH RESOLUTION MEDIA...5 FrameFlex... 5 Adjusting FrameFlex... 6 Source
More informationMediaNXS. Complete I/O Solution
MediaNXS Complete I/O Solution Table of Contents About MediaNXS... 1 Reference... 2 File Menu... 2 New Project... 2 Open Project... 2 Save Project... 2 Save Project As... 2 Add Media... 2 Import... 2 Export...
More informationFind out what you re missing in Media Composer
Find out what you re missing in Media Composer Still working with an older version of Media Composer? You don t know what you re missing! Revolutionize your workflow with powerful new capabilities and
More informationLinked table of contents - Please click on the item to navigate
Linked table of contents - Please click on the item to navigate New project settings New clip settings Default colour scaling - name changes Video Output Monitoring / Video output preferences Signal Status
More informationDavinci Resolve - Final Conform and Color Correction Project Setup - Import.xml and Quicktime Exported From Adobe Premiere Pro
Davinci Resolve - Final Conform and Color Correction Project Setup - Import.xml and Quicktime Exported From Adobe Premiere Pro To Bring into Resolve Launch Resolve Application Click on New Project Title
More informationThe following table lists the formats and resolutions available when you work with XDCAM media: 8 MPEG 30 MPEG 40 MPEG 50 MPEG-4 (proxy media) 4 or 8
XDCAM Users Guide XDCAM and AVID...2 Working with XDCAM HD Media...2 Connecting the XDCAM Device...3 Importing XDCAM Media...4 Setting the XDCAM Import Options...5 Automatically Importing Proxy Media...6
More informationEditing and Finishing in DaVinci Resolve 12
Editing and Finishing in DaVinci Resolve 12 1. Introduction Resolve vs. Resolve Studio Working in the Project Manager Setting up a Multi User Login Accessing the Database Manager Understanding Database
More informationCANON C500 SETUP GUIDE. Odyssey7Q Odyssey7Q+ 4K RAW 2K Half RAW 120 QHD RAW 2K 12-BIT DPX HD 12-BIT DPX
CANON C500 SETUP GUIDE Odyssey7Q Odyssey7Q+ 4K RAW 2K Half RAW 120 QHD RAW 2K 12-BIT DPX HD 12-BIT DPX 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX HD Apple ProRes 422 (HQ) 2K Apple ProRes 422 (HQ) Updated December
More informationAVID - AMA Explained. First thing is to look at what plug ins are installed. Open up the Console Tool. Type in ama_listplugins
AVID - AMA Explained Download a.pdf of this document click here AMA (Avid Media Access) is a revolutionary plug-in architecture that greatly accelerates your tapeless video workflows, including RED/RED
More informationCODEX PRODUCTION SUITE v4.1.1
USER GUIDE CODEX PRODUCTION SUITE v4.1.1 RELEASE: 04428 DOCUMENT VERSION 08.12.16 PAGE 1 Codex Production Suite 4.1.1 Disclaimer Codex products are continually developed to remain at the forefront of the
More informationMedia Composer Features List
Media Composer s List Apply Mask Regions Vertical Scroll in Timeline Bin View Icons Navigate with Mouse Scroll Wheel 9-way Multicam for XDCAM HD 50 Add or Remove Items in the Audio Mixer Tool Add Effects
More informationNew Features in Final Cut Pro 6
New Features in Final Cut Pro 6 This is an overview of the new features in Final Cut Pro 6. For more information about these features and their use, see the Final Cut Pro 6 User Manual. Open Format Timeline
More informationFilm and Television Production Technology. Sony Pictures Technologies
Film and Television Production Technology Sony Pictures Technologies Introduction 秘 SONY CONFIDENTIAL Sony Pictures Technologies Toshino s org charts go here Sony Pictures Production Motion pictures* Top
More informationAutodesk Flame Premium 2015 SP1 Release Notes
Autodesk Flame Premium 2015 SP1 Release Notes Welcome to Service Pack 1 for the 2015 release of the following products: Autodesk Flame Premium Autodesk Flame Autodesk Flare Autodesk Flame Assist Autodesk
More informationSetup Guide Odyssey7Q + FS700 Updated 18-Aug-2014 Firmware Release v
Setup Guide Odyssey7Q + FS700 Updated 18-Aug-2014 Firmware Release v2.11.110 4K RAW up to 60p 4K RAW burst up to 120p 2K RAW up to 240p 4K RAW to Apple ProRes 422(HQ) up to 60p 1080p video to Apple ProRes
More informationARRIRAW Converter 2.1
ARRIRAW Converter 2.1 Quick Guide Introduction In postproduction, ARRIRAW files must be transformed into a standard file format for conforming and color correction. The most commonly used format is SMPTE
More informationARRIRAW AMA for Avid - Windows
ARRIRAW AMA for Avid Windows 1 ARRIRAW, Alexa, ARRIFLEX D-21, D-21, are trademarks of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG Avid and the Avid logo are trademarks or registered trademarks
More informationCANON C500 SETUP GUIDE
CANON C500 SETUP GUIDE Odyssey7Q Odyssey7Q+ 4K RAW 2K Half RAW 120 QHD RAW 2K 12-BIT DPX HD 12-BIT DPX 2K 10-BIT DPX HD 10-BIT DPX HD 422 DPX HD Apple ProRes 2K Apple ProRes Updated February 23, 2015 Firmware
More informationSync-N-Link X. Contents. Preparing Clips for Syncing
Sync-N-Link X Sync-N-Link X takes away the time-consuming chore of synchronizing dailies or rushes by processing an Event of clips with matching SMPTE/EBU Timecode. Sync-N- Link X looks for audio whose
More informationStarting a Project. Section 1
Section 1 Starting a Project Duration: 15 minutes This section introduces you to the Avid DS Nitris post-production process. You will learn how to create a project in Avid DS Nitris. The following topics
More informationOperators Upgrade Notes
Media Composer Software Operators Upgrade Notes Paul Sampson paul@paul-sampson.ca Table of Contents INTRODUCTION...3 TERMINOLOGY CHANGES...4 CUSTOM PROJECT SIZES...5 DISPLAY AND MONITOR CHANGES...6 SELECTING
More informationBlackmagic Production Camera 4K EF
Blackmagic Production Camera 4K EF Technical Specifications Description The Blackmagic Production Camera 4K is a complete self contained solution for shooting extremely high resolution Ultra HD 4K content!
More informationSetup Guide Odyssey7Q + ALEXA Updated 25 JUL 2014 Firmware Release v
Setup Guide Odyssey7Q + ALEXA Updated 25 JUL 2014 Firmware Release v2.10.141 ARRIRAW (16:9 or 4:3) 23.98/24/25/30/48/59.98/60 Variframe: Fast Motion (16:9 or 4:3) Variframe: Slow Motion (16:9 or 4:3) Odyssey7Q
More informationMedia Composer WHAT S NEW Versions
Media Composer WHAT S NEW Versions 8.0 2018.9 What s New Avid Media Composer 2018.9 Avid Artist DNxID This release supports the Avid Artist DNxID device. Live Timeline Additions You can solo, mute, and
More informationEditing & Color Grading 101 in DaVinci Resolve 15
Editing & Color Grading 101 in DaVinci Resolve 15 1. Exploring Resolve Exploring Resolve The Media Page The Edit Page The Fusion Page The Color Page The Fairlight Page The Deliver Page The Processing Pipeline
More informationBASELIGHT / DIAMANT-Film RESTORATION System INTEGRATION...
1 of 8 3/23/2016 10:37 AM BASELIGHT / DIAMANT-Film RESTORATION System INTEGRATION Workflow 1) INGEST From scanner or external source, the DPX files are installed in high speed shared storage area. 2) CONFORM
More informationYou cannot use the Animation Key button to remove animation on a clip, track, or timeline effect when there are expressions in that effect.
Avid DS 11.1 Known Issues and Limitations This section provides information on known limitations that were not addressed in this release. Any available workaround procedures are also documented, when possible.
More informationUSER GUIDE RECORDING AND PROCESSING ARRIRAW WITH ALEXA XT REVISION ALEXA XT - RECORDING AND PROCESSING ALEXA XT REV
USER GUIDE RECORDING AND PROCESSING ARRIRAW WITH ALEXA XT REVISION 12.12.2013 PAGE 1 Contents 1. Introduction...4 2. Hardware and Software...4 3. Loading and Unloading a Capture Drive...4 4. Formatting
More informationHow Archion and Blackmagic Resolve Create the Ultimate DPX Workflows
How Archion and Blackmagic Resolve Create the Ultimate DPX Workflows The high processing and storage demands of 4K video require higher-than-ever speed and storage capacity. When it comes to collaborative
More informationAMA MASTER GUIDE. Avid Media Access. Media Composer 6.5.x Symphony 6.5.x NewsCutter 10.5.x
AMA Avid Media Access MASTER GUIDE Media Composer 6.5.x Symphony 6.5.x NewsCutter 10.5.x Avid Editing Systems and AMA Features in Media Composer 6.5.0.1 and later, Symphony 6.5.0.1 and later, and NewsCutter
More informationContentAgent s automated and scalable. to any Avid ecosystem. Whether ingesting content into a Media Video Cropping/Padding/Scaling
ContentAgent Base Software Package Includes: Watchfolders AVI Encode/Decode Field Order Analyzer Framerate Conversion Metadata Management Camera Card Processing Network/Local Copying Customized XML Output
More informationFeatures & Benefits. Nucoda. Version Release 3. Rev 3.
Features & Benefits Nucoda Version 2012.1 - Release 3 Rev 3 www.digitalvision.tv New features in 2012.1 Release 3 THX Cinespace support A new 64bit THX CineFilmMaster plugin has been added to the CMS tool
More informationF65RAW Viewer Operation Guide
F65RAW Viewer Operation Guide V0.9 Beta Dec 22, 2011 2011 Sony Corporation F65RAW Viewer Operation Guide Dec-22, 2011 1 Contents 1. Overview... 3 2. Hardware Requirements and Installation... 4 2.1. Requirements...
More informationGlue Tools LLC! Cineon/DPX Pro for Final Cut Studio - v3.5. Cineon/DPX Pro for Final Cut Studio
Cineon/DPX Pro for Final Cut Studio 1 Copyright 2003-2011, Glue Tools LLC Glue Tools LLC P.O. Box 24124 Santa Barbara, CA, 93121 United States Tel: 805 456 7997 http://www.gluetools.com 2 System Requirements
More informationAvid HD Workflows. Avid Postproduction
Avid HD Workflows Avid Postproduction Table of Contents Introduction................................................................................. 1 Avid and HD.................................................................................
More informationBlackmagic URSA Mini 4.6K EF
Product Technical Specifications Blackmagic URSA Mini 4.6K EF The compact URSA Mini camera with EF lens mount, 4.6K Super 35 sensor and an incredible 15 stops of dynamic range, is lightweight and perfectly
More informationNucoda. Features & Benefits Version R2. Ji9it5!_digitalvision.tv. Colour Grading and Finishing. Doc Rev 1
Nucoda Colour Grading and Finishing Features & Benefits Version R2 Doc Rev 1 Ji9it5!_digitalvision.tv Nucoda and Phoenix Features and Benefits R2 SDK Updates 2 Arri support for Alexa Mini 2 RED support
More informationAvid High Resolution Workflows
2K, 4K, and UHDTV www.avid.com/mediacomposer Introduction This paper will start with a look at the emerging standards for UHDTV followed by a discussion of the challenges, solutions, and benefits of integrating
More informationADOBE SPEEDGRADETM. Help and tutorials
ADOBE SPEEDGRADETM Help and tutorials October 2013 Contents What s new... 1 What s new in SpeedGrade CC October 2013 release (version 7.1)... 2 What s New in SpeedGrade CC June 2013 release (version 7.0)...
More informationAVID 2K Digital Cinema Package - DCP Creation Workflow Using OpenDCP
AVID 2K Digital Cinema Package - DCP Creation Workflow Using OpenDCP To create a 2K file for the DCP you have to create a QuickTime that is either of the following aspect ratios 1998 x 1080 for Flat DCPs
More informationUse Resolve to create 4K Avid Media from A7Sii footage
Use Resolve to create 4K Avid Media from A7Sii footage Open Resolve. (we're using version 12.5) Click the New Project button Name your project. (Hint: whatever name you use here, Avid will recognize in
More informationOnline Help Browser Requirements Safari *Please note: Episode 7 does not support OS X or previous versions of Mac OS X.
System Requirements Episode 7.5 Release Notes Mac Minimum System Requirements Operating System: OS X 10.11 or higher (Includes macos Sierra 10.12) RAM: 8 GB or more 256 GB hard disk space, with 300 MB
More informationAvid Editing Application
Avid Editing Application ReadMe Installation Note On a Windows system, if you have already installed a patch on your system, you must first uninstall the previous patch before installing a new patch. On
More information